Which of the following groups of musicians translated the New Orleans style to a larger, Chicago-based audience, and helped to establish the broader foundations of structured improvisation and popular-song interpretation, that would be so important for the jazz of the next generation?

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The question asks about a group of musicians who carried New Orleans jazz to a broader Chicago audience and laid groundwork for structured improvisation and interpretation of popular songs, influencing next-generation jazz.
Option 1: 'King Oliver, Louis Armstrong, and Lil Hardin' — This group is historically recognized for moving the New Orleans style to Chicago, with Oliver's cornet, Armstrong's innovations, and Lil Hardin's pivotal role as a pianist/composer and Armstrong's wife at the time, helping to shape arrangements and the evolving jazz language. This option aligns well with the described impact on improvisation structure and interpretation of popular tunes.
Option 2: 'Paul Whiteman, Louis Armstrong, and Bing Crosby' — Paul Whiteman led a widely popular but more symphonic, arranged style often labeled as 'jazz' by some, which diverged from the core New Orleans and Chicago vernacular; Armstrong did appear with Whiteman, but this pairing is not the canonical vehicle for transferring New Orleans to Chicago or for establishing the foundational approach to improvisation and pop-song interpretation in the way the question describes. Therefore this option misidentifies the key grouping and stylistic trajectory.
Option 3: 'King Oliver, Sidney Bechet, and Josephine Baker' — Oliver and Bechet were major figures in early jazz, but Bechet is more associated with New York and Europe in different periods, and this trio does not represent the Chicago-based bridging group that formalized the improvisational approach tied to popular-song interpretation as described. The combination also mixes origins not cohesively linked to the specific Chicago expansion.
Option 4: 'Chick Webb, Duke Ellington, and Louis Armstrong' — Ellington and Armstrong are central to jazz development, especially in Harlem and big-band contexts, but this trio emphasizes the later Swing era and big-band organizations rather than the Chicago-based transfer of New Orleans style that the question highlights. Webb’s bebop-era context and the pairing here do not fit the described historical move from New Orleans to Chicago with emphasis on structured improvisation and popular-song interpretation.
In summary, option 1 best matches the historical narrative: a Chicago-based migration of New Orleans style that helped shape structured improvisation and mainstream interpretation of popular songs for the next generation, led by King Oliver, Louis Armstrong, and Lil Hardin. The other options either pair artists who did not collectively fulfill that specific Chicago bridge role or reflect different historical trajectories that do not align with the described foundations for the next generation of jazz.

MUSC-11C-01 Week 3: Mid-unit II Quiz (Lecture 4 & 5, readings)

Which of the following groups of musicians translated the New Orleans style to a larger, Chicago-based audience, and helped to establish the broader foundations of structured improvisation and popular-song interpretation, that would be so important for the jazz of the next generation?

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